Thursday, October 26, 2017

More acrylic studies

More figure studies in acrylic -

A) 28 x 22 inches, acrylic on paper.

Slightly modified from Ref by kind courtesy of 'R', Voivodess_Stock in Deviantart.

B) Study of a tangled-up pose :
14 x 22 inches, acrylic on paper.

Unknown source reference - I wish I could credit the photgrapher/model, the pose was too good not to study. Very educational.

C) Color study - adpatation from Black & White reference.
14 x 22 inches, acrylic on paper

Ref image by kind courtesy of Michael Schalla on

Thursday, October 5, 2017

Figure study in Acrylic Sep'17

'Adhira', figure study in acrylic - 22 x 14 inches, on paper

Study from a reference by Maureen and Douglas Johnson at livemodelbooks-dot-com.

Wednesday, May 10, 2017

One more figure sketch from April 2017

More figure sketches in acrylic...
1/2 sheet, acrylic on paper. Directly sketched with brush using Burnt Umber.

Reference by kind courtesy of Larry Withers of

Thursday, April 6, 2017

Torsion - study in acrylic

The 'work in progress' pic is posted at the bottom.
1/2 sheet, acrylic on paper.

A couple of close-ups (you may click to see details in the enlarged version).

The W.I.P shots, in three stages: As you can see, the initial drawing was directly made with brush and burnt umber. At stage 2, more of the background was brushed in using a mix of pthalo green and black (arbitrary choice). Some of this was brushed onto the figure in thin layers, so as to integrate figure with background (helps to take out sharp, cutout-like, sharp edges). Stage 3 shows the finished painting.

Many thanks to Marion Skydancer of deviantart for the reference image.

Monday, November 21, 2016

Figure study in acrylic with WIP

Full sheet, acrylic on buff cartridge paper. Minimal palette - black, burnt sienna, titanium white (and traces of burnt umber).

Here is a three image Work in Progress sequence of this painting:

From above downwards : I began cursorily by pegging the perimeter of the figure, directly using brush and some ivory black (which was left over on my palette from an earlier session). I located the extremities e.g. top of head, right elbow, right shoulder, right toe, right knee, left toe, left knee, left shoulder (in that sequence) by points, and joined these to make a rough polygon. The figure was to be contained within this perimeter. Having drawn the figure, directly with brush, I made some sketchy tonal studies to glean info on the values.

Then I began to add color (although my original intention was to make this black and white), mostly burnt sienna, mixed with black or white, to get the tonal differences. I did use burnt umber here and there, but not much. Having roughly painted all over with this approach, I used a finer brush to adjust the details e.g. highlights, creases etc.

Reference by kind courtesy of GlamourPhotoLight in Deviantart.